Wonder Over Yonder Art In 2021? Couldn’t Be Me

concept: human!watchdogs wear electronic masks

homogenizes them and minimizes their individuality

leans into the original concept of them being at least somewhat mechanical

looks cool

oughh

I'm gonna tell you a secret.....

Edgeworth is very ill y’all

Do you have any tips for writing enemies to lovers?

Hi, love!  Thanks for your question and your patience<3  I’m currently writing somethingsimilar to this, so I hope my experience can help you here!

Enemies-to-lovers is a popular trope, but it’s often treatedcarelessly by writers – especially TV/movie writers who rush through thetransition to fit a single movie or episode arc.  There’s nothing worseyou can do in this situation than to rush your arc.  Falling in love isalready a time-consuming plotline – but transitioning from enemies, who arealready shutting each other out, to lovers?  The quicker it happens, theless believable it becomes.

I have a lot of notes on how to write enemies to lovers, sobear with me as I list them out.

Writing Enemies to Lovers: The Basic Ingredients

1. Give them some similar traits.

No matter what, two people can’t fall in love if they don’trelate on some level.  The first step to creating possible love interestsis to find where they’ll connect.  Are they a hero and a villain? Evil and good?  Night and day?  I bet they both love animals. Maybe they’re both way into politics.  Maybe they share a commonenemy.  Maybe they’re both neat freaks or a bit sassy or super gay or lovethe same music.  It can be a few important things or a bunch of superficialthings – just make sure they have something that can tie themtogether.

2. Put them on the same side of something.

When two people are mortal foes, it can be hard for them tosee each other in any other light.  Bringing in a common enemy (ananti-hero, a natural disaster, a person in power), or a common interest (amutual friend, a school play, a moral cause), can land foes on a teamtogether.  This forces them to become aware of each other’s strengths, andto consider (and worry about) each other’s weaknesses.  This is perfectfodder for an eyebrows-raised, “Hey, they don’t suck at this particularthing,” moment.

3. Get them alone.

With other people watching (especiallyfriends/coworkers/allies), little groundwork can be made for your twohate-lovers.  If you get your characters alone together, you’re given abounty of opportunities to bond them, including but not limited to: actualconversations, accidental (or faux-accidental) physical contact, the sneakymoment of checking each other out, etc. etc. etc.  People are differentwhen you get them away from their friends – less extreme, less rowdy, lessunreachable.  If you have to trap your characters in an elevator theold-fashioned way, damn it, you’re the only one who can do it.

4. Let them fight their feelings.

If these two are truly enemies, there isn’t going to be amoment of, “Oh, I like them.  Huh.  Neato.”  Oh, no. There will be internal backlash – they will beat their emotions back with abroom, and deny them to anyone who asks.  There will be extra hatefulglares, more middle fingers, and basically anything they can do to remindthemselves that they don’t like this person.  If you show thisinternal conflict, it both (a) makes the feelings seem real, organic, and (b)creates a more realistic transition from hate to love.

5. Love can sound like hate.

There’s a reason people say indifference is the trueopposite of love.  When your two enemies start to feel things foreach other, this will probably spark a lot of ranting, arguing, anddoor-slamming.  It creates a fixation – you sit there and you stew andyou tell your friends, “Remember when they did thatstupid thing?  Yeah.  Screw them.”  Your friends roll theireyes.  When will you stop talking about this person?  Just kiss themalready.

6. Sexual tension is a powerful tool.

If your characters experience sexual attraction, this is agreat way to accelerate their relationship against their will.  It’s theage-old, “My mind says no but my body says yes,” dilemma.  Yourcharacters can’t stand each other, or the image they have of each other, butthey’re attracted like magnets and can’t shake it.  This can make for somepretty hot – or pretty hilarious – scenes.

7. Give them a moment of horrified realization.

Eventually, the feelings will grow strong enough that one orboth of them will have to sit there, probably on the bathroom floor a littlebit drunk with one sock on, and realize: “I love that f*cker.”  It’llbe a scary moment for them.  It’s not that they haven’t known it – theyjust have yet to accept that it’s something to deal with, until now.  Thiscan be prompted by a dangerous situation, a shared activity, or a failed attemptat another romance – so when they really sit and think about it, theyknow.  Then it becomes a question of either “how do I get rid of this?”or “how do I pursue this?”.

8. Try their hand at flirting.

Whether one or both characters have come to accept theirfeelings, someone’s gotta start flirting.  A glancing touch across thearm; a small comment that could kind of be construed as amicable; a lingeringglance; that first peek at their enemy’s smile.  Something cute and quickand immediately followed by an existential crisis will do in a pinch. Without this water-testing, readers won’t have any image of what thisrelationship will look like – and if it can succeed.

9. Craft the perfect kiss/hug/confession.

When the time is right, create an undeniable display ofattraction to transition into a new phase of their relationship:the “welp-we-both-like-each-other” phase, which comes right beforethe “we-decided-to-(stay-platonic/start-romancin’)” phase.  The BigKiss/Confession is the most iconic climactic love scene, in which the twocharacters take a chance and become vulnerable with each other – and kiss, orsay, “I love you,” or do anything that can’t be construed in any otherway.  Want to extend the drama?  Interrupt them, or have it beone-sided, or let it turn into a fight until they decide, “Forget it, thiswas stupid.”  Readers will swoon.

10. Finish up with an awkward adjustment period.

If and when your characters do enter a relationship, makesure it’s a little tentative at the beginning, to keep it realistic.  Yourcharacters have made a huge shift in their dynamic – there will be somelingering arguments and love-hate, and maybe a bit of discomfort going publicwith their romance.  Then come the usual growing pains of a new relationshipgetting serious – figuring out how to navigate each other’s flaws, learning tobe open with their feelings, dealing with unresolved fights from before theirrelationship.  It won’t be perfect right away.  That’s the beauty of it.

I hope this helps you, love!  I adore love-haterelationships, and I hope you enjoy crafting your own enemies-to-lovers as muchas we’ll all love reading them :)  Good luck!

– Mod Joanna ♥️

Ifyou need advice on general writing or fanfiction, you should maybe ask us!

THIS!!!!!!!!!! most of us feel like we aren't doing enough because we can't physically stop a genocide but speaking helps!! pressuring helps!! boycotting helps and protesting helps!! please don't give up on Palestinians not when the entire world has turned their backs on them

here is how YOU can help Palestine

Based on this

A Rant About Wander

We all know how obsessed/crazy Wander can get if he's not able to help people. It's how he acts in "The Sick Day," but also "The Helper," where we see a glimpse of Wander's heroic, black-and-white personality; the person he is without his core self:

For the first time, we see Wander look at Hater as a bad guy he has to "stop" and he can't believe that, behind all his evil deeds, he's a normal guy just trying to pick up his lunch. A similiar moment happens in "The Wanders," where Wander sees Hater as a heartless evil-doer and says: "I am a good guy, and he is a bad guy, and I stop him!" he's like Brad Starlight It's clear tunnel vision

When Sylvia tells Wander how it's good that people don't need his help all the time, he's curious as to why. Wander's so used to being the nice guy that he wonders why it's a bad thing that he's one to such an obsessive degree.

It's not just that he enjoys helping others or that he empathizes deeply with everyone due to his (unexplored) past; Wander also wants to feel worthy/good about himself. Look at this line from "The Big Job":

Wander feels WORTHLESS when he messes up, he feels worthless when he's not doing anything for other people. His desire to help stems not only from past pain but also feelings of not being good enough and he buries them deep deep DEEP down

As humble as Wander is, he enjoys being seen as a legendary hero because it makes him feel important. See how excited he gets here?

Hero Wander is even a part of him, as we see in "The Wanders"; there's no way he doesn't have savior complex/hero syndrome:

Wander never denies being 'the legend.' On the contrary, as soon as Hank starts describing "The Hero," he figures out he's talking about him and says "Oh, really?" like he's reveling in that fact:

He just goes with the kids' portrayals of him even though they aren't accurate. And he knows. He KNOWS that the Yonder galaxy thinks of both himself and Sylvia as heroes:

"The Family Reunion" shows exactly how well-known Syl and Wan are:

There's also this deleted scene from "The Hole... Lotta Nuthin'" where Wander pretty much reveals that he KNOWS he's very well-known and is being just a tiiiiiiny bit arrogant about it:

When Wander doesn't feel worthless, he acknowledges/ doesn't deny/enjoys being seen as a hero, but when he's down in the dumps, he'll straight up say he's not one, which is what he said in "The Big Job"

Then there's this moment in "The Good Deed" where he's being a show-off:

Wander not only has flaws, but he's actually no stranger to negative emotions either.

In "The Good Deed," he gives in to nihilism:

Wander was ready to drown himself in mud because he thought doing good was pointless in the end, that things will turn bad anyway no matter what he does. I never saw anyone talk about what this scene implies, but it's both really dark and really heartbreaking. WoY actually tackled it with care and a good moral about life, though

He's heartbroken when he thinks his good intentions didn't amount to anything ("The Gift 2: The Giftening"):

He feels hopeless after repeated failure and needs Sylvia to lift his spirits ("The Liar"):

In "The Show Stopper," he's so focused on getting Dominator to notice Hater's concert that he completely forgets to rescue the bunny folk (he probably came back for them later, but the thing about Wander is that when he's hyperfocused on a specific thing or goal, he's HYPERFOCUSED).

In "The Battle Royale," he gets so caught up in getting Hater and Dominator together that he accidentally creates an entire warzone, gets McGuffin fried, and becomes (temporarily) discouraged after he thinks he failed to set the two up (and soften Hater's heart):

And yet, no matter what happens, he always bounces back ("The Flower" shows this best), either with Sylvia's help, or on his own. Season three would have challenged him, though:

In "The Void," Wander is selfish and controlling and only thinks about what he wants to do, and what's interesting is how that was metaphorically shown by having him control Sylvia like she's a puppet:

This episode suggests that a part of Wander, at least subconsciously, sometimes wants control over Sylvia (best seen in "The Tourist," where he constantly neglects her need for rest so he could compete with Trudi). This ties in with another thing I want to talk about, and that's how there's a clue in "The Rider" that Wander didn't have a deep one-on-one friendship with anyone before he befriended Sylvia (even if he had other travel partners). He literally had to consult Frederick about how to handle the falling out between them:

Wander always had acquaintances, strangers he helped, and villains he reformed around him; he probably dated many people, too. But he never bonded with someone who genuinely liked being around him, who cared about his safety and well-being and who'd always have his back. He and Syl are found family siblings to me He's so used to either being by himself and doing whatever he wants or only making casual connections; it's understandable why he'd struggle with thinking about others' feelings at times. Yeah, Wander takes care of people in a practical sense, but intimate relationships where he sometimes has to sacrifice his autonomy are still new to him.

Tl;dr Wander looks silly and shallow but he's such a flawed, deep character when you peel back the layers.

Help Wafaa's Children and Grandchildren Evacuate

hi everyone, I checked in with Wafaa @hebsnhel yesterday and as you can also read from her latest updates on her blog (please follow her for her family's story and updates on the campaign!), her 5 year old granddaughter is extremely sick with Hepatitis, and has been in a high fever for the past 5 days. The recent surge in Hepatitis cases in Gaza is because of the lack of access to clean water and food, as well as the total lack of access to medication. Hepatitis, if left untreated, is extremely painful with frequent abdominal pain and high fevers, symptoms can last for months.

Wafaa has raised her campaign goal slightly because she is the sole financial provider for her family (of three generations, including 15 members) and not only does she have to pay for her own food and lodging, but also buy milk, food, water, diapers for her newborn grandson, and pay land rent for the tents.

Please please continue to support Wafaa in her continued hope to reunite with her family, her beloved children and her grandchildren.

€12,107 raised of €50,000 goal as of Jun 18 morning, let's try to get at least €400 in donations today, every single day without traction for Wafaa's family means more disease and more danger!!

gofundme.com

Donate to Please save Waffaa and her children from Gaza, organized by Yasmin Hadscho

Hello, my name is Wafaa. I am 42 years old and I am calling on the free p… Yasmin Hadscho needs your support for Please save Waffaa and her